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Jonathon Shears

Great Exhibition, 1851: A sourcebook are students and researchers new to the topic and particularly those who want to teach the subject without resorting to hours of trawling through primary texts to produce course material. So the book is primarily conceived as a teaching aid, but it also offers numerous departure points for researchers in the history of the Exhibition, and material culture more generally, and those working on specific issues such as British imperialism, social class and the representation of gender politics in the Victorian period. To a great degree

in The Great Exhibition, 1851
From Burke’s Philosophical Enquiry to British Romantic art
Author: Hélène Ibata

The challenge of the sublime argues that the unprecedented visual inventiveness of the Romantic period in Britain could be seen as a response to theories of the sublime, more specifically to Edmund Burke’s Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). While it is widely accepted that the Enquiry contributed to shaping the thematics of terror that became fashionable in British art from the 1770s, this book contends that its influence was of even greater consequence, paradoxically because of Burke’s conviction that the visual arts were incapable of conveying the sublime. His argument that the sublime was beyond the reach of painting, because of the mimetic nature of visual representation, directly or indirectly incited visual artists to explore not just new themes, but also new compositional strategies and even new or undeveloped pictorial and graphic media, such as the panorama, book illustrations and capricci. More significantly, it began to call into question mimetic representational models, causing artists to reflect about the presentation of the unpresentable and the inadequacy of their endeavours, and thus drawing attention to the process of artistic production itself, rather than the finished artwork. By revisiting the links between eighteenth-century aesthetic theory and visual practices, The challenge of the sublime establishes new interdisciplinary connections which address researchers in the fields of art history, cultural studies and aesthetics.

The Vorticist critique of Futurism, 1914–1919
Jonathan Black

composed from whirring mass-produced, machine-tooled elements, and later designs would be directly inspired by his reverence for the bustling Pool of London, situated between London and Tower Bridges. Lewis proceeded to bluntly assert: ‘The Modern World is due almost entirely to Anglo-Saxon genius – its appearance and its spirit. Machinery, steam-ships, all that distinguishes externally our time, came far more from here than anywhere else’. He also implicitly associated the new movement with British Imperialism when he wrote: ‘By mechanical inventiveness … just as

in Back to the Futurists
Hélène Ibata

, etc., vol. IV (London, 1796), p. 165. 166 167 Immersive spectatorship 6 Barker, ‘Specification’, p. 165. 1 17 George Corner, The Panorama (Leicester Square):  with Memoirs of its Inventor, Robert Barker, and his Son, the Late Henry Aston Barker (London: Robins, 1857), pp. 6–​14. 18 Barker, ‘Specification’, pp. 166–​7. 19 Barker, ‘Specification’, p. 167; my emphasis. 20 Corner, The Panorama, p. 7. 21 Denise Oleksijczuk, The First Panoramas: Visions of British Imperialism (Minneapolis: University of Minnesota Press, 2011), p. 5. 22 Garrison et

in The challenge of the sublime
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John M. MacKenzie

other European empires. For Orientalism, MacKenzie, Orientalism: History, Theory and the Arts (Manchester, 1995). 18 Introduction 4  John M. MacKenzie, The Empire of Nature: Hunting, Conservation and British Imperialism (Manchester, 1988) was one of the first books to give hunting scholarly notice, but there have been many since, including important work by Jane Carruthers, Bernhard Gissibl, Angela Thompsell and Vijaya Ramadas Mandala. Environmental interests were developed further when I was co-ordinating editor of the journal Environment and History from 2000 to

in The British Empire through buildings
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The Tudorbethan semi and the detritus of Empire
Deborah Sugg Ryan

, instead of the ivory and ebony ones to which we have grown accustomed, there is now a vogue for teak ones of Burmese origin.’129 Elephants also appeared in other media such as ceramics and Bakelite, sometimes in stylised Modernistic designs, but they retained their imperial resonances. By the mid-1930s, the symbolism of the elephant had, for some, shifted irrevocably. In George Orwell’s 1936 essay ‘Shooting an Elephant’, the elephant’s slow and painful death became a metaphor for all he saw wrong with British imperialism and the subjugation of colonial subjects. Yet the

in Ideal homes, 1918–39
Justness and justice at home and abroad
Jeff Rosen

1867 and their exhibition at the beginning of the following year is highly significant, since during the intervening period two prominent events fuelled outrage and public debate concerning the Eyre affair: first, in August 1867, Carlyle’s pamphlet, Shooting Niagra: And After? was published,38 and second, in February 1868, Carlyle finished writing and submitted to Parliament the petition of the Eyre Defence Committee.39 This period, in other words, was one of persistent visible activity for the defenders of Edward John Eyre and the cause of British imperialism. It

in Julia Margaret Cameron’s ‘fancy subjects’
(eco)feminist interpellations of Chineseness in the work of Yuk King Tan, Cao Fei, and Wu Mali
Jane Chin Davidson

with the evolution of Hong Kong’ itself.24 The Scotsman, Thomas Sutherland, founded the original bank in 1865, after obtaining enormous capital wealth from working at the Peninsular and Oriental Steam Navigation Company (P&O) in Hong Kong. The British shipping company moved maritime freight consisting largely of opium from India to China. The lions are conceivably the symbol of HSBC’s capitalist occupation of Hong Kong (after its 1841 ceding in the first Opium War), a reminder of the way in which British imperialism was founded on drug-pedaling leverage, considered

in Staging art and Chineseness
Religion and freemasonry
John M. MacKenzie

Stevens Curl, The Art and Architecture of Freemasonry (London, 1991) deals exclusively with European and American freemasonry. 77  The most important recent study of imperial freemasonry is Jessica L. Harland-Jacobs, Builders of Empire: Freemasonry and British Imperialism, 1717–1827 (Chapel Hill, NC, 2007). See also P.J. Rich, Chains of Empire: English Public Schools, Masonic Children, Historical Causality and Imperial Clubdom (Washington, DC, 2015). There was a pioneering look at imperial freemasonry in Ronald Hyam’s durable book, Britain’s Imperial Century 1815

in The British Empire through buildings
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Victorian Parnassus on the Isle of Wight
Jeff Rosen

Ideals’, Victorian Literature and Culture, 20 (1993), 117–39. 86 Matthew Rowlinson summarizes this doubly inscribed paradox ‘as part of the prehistory of a certain ideological construction’, in which Tennyson’s poem is ‘implicated in a colonialist pedagogy that is in its essence nostalgic’ because it technically dates ‘from before it was possible to speak of a British imperialism, and yet seems peculiarly to speak to and about the twilight of that imperialism’. See Rowlinson, ‘The Ideological Moment of Tennyson’s “Ulysses”’, 270. 87 Charles Cameron senior was

in Julia Margaret Cameron’s ‘fancy subjects’